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The Man Behind Lady Gaga’s ‘Telephone’ Video: Jonas Akerlund

The director of Gaga’s epic new clip has also worked with Madonna, Christina Aguilera, Pink, U2. By Josh Wigler Lady Gaga and Beyonce in the “Telephone” video Photo: Eric Ford/ On Location News The long-awaited debut of Lady Gaga’s sprawling epic of a music video for “Telephone” has no shortage of stars, including Gaga herself, Beyonc

Crystal Bowersox Profile: ‘I’m Not Letting Anything Go To My Head’

‘American Idol’ Top 12 cheat sheet looks at Bowersox’s strengths and weaknesses. By Jim Cantiello Crystal Bowersox Photo: Jesse Grant/ WireImage On Thursday night, “American Idol” revealed its Top 12 Finalists for the ninth season of the hit show. MTV News “Idol” expert Jim Cantiello whipped up a handy cheat sheet for each finalist, breaking down each candidate’s journey thus far. He also got the “Idol” hopefuls to weigh in when he caught up with them at Thursday night’s Top 12 Party in Hollywood. CRYSTAL BOWERSOX Crystal Bowersox is as obvious a choice for “American Idol” as Ellen DeGeneres. The Ohio native seems like she’d be more at home on AM Radio circa 1976 than a highly-rated reality competition. But somehow, the dreadlocked singer/songwriter has captured the imagination of “Idol” viewers and judges alike with her so-retro-it’s-cool-again vibe and fish-out-of-water attitude. Best Performance : Bowersox wowed with a passionate gospel-tinged “Long As I Can See The Light” by Creedence Clearwater Revival, made all the more poignant and emotional thanks to a headline-grabbing health scare that almost resulted in the show’s first-ever medical disqualification . But her recent Tracy Chapman cover gave us even more reasons to chant “BOWERSOX! BOWERSOX!” Weakest Performance : Alanis Morissette’s “Hand In My Pocket” seemed like a good idea at the time. The song fit her troubadour aesthetic and she got to flaunt her harmonica skills. (Take that, Taylor Hicks!) But it ended up feeling too predictable and safe, leaving Simon to gripe that there are thousands of street performers doing the same thing all over America. Ouch. Sad Backstory : After last week’s dramatic hospital visit , Crystal’s struggle with diabetes made its way into her narrative on the show. And like fellow frontrunner Andrew Garcia, Bowersox is the parent of an adorable toddler. Why She Will Win : Bowersox recalls past “Idol” fan favorites like Jason Castro and Bo Bice, yet she’s been able to carve out an identity all her own. She’s also showing more personality the longer she’s on TV, and it sparkles. (Her swipe at Simon for having a two-story trailer was hilarious without being disrespectful.) On a superficial level, her name is a memorable one, particularly when uttered by Simon Cowell on various talk shows (he’s a fan). Why She Will Lose : Bowersox had never watched “Idol” before, so she may be thrown for a loop when she’s expected to sing a disco tune or a Broadway number. If she’s smart, she’ll watch every single Adam Lambert and Kris Allen “Idol” performance. Those two had a knack for picking songs and arrangements that fit their specific identities. (Well, perhaps Crystal should avoid Kris’ Don Henley number. We’re still not sure what happened that week.) What She Should Sing : To help Crystal avoid turning into a ’70s jukebox clich

‘American Idol’ Top Eight Women: What They Need To Do

Paige Miles and Didi Benami need to step it up, while Crystal Bowersox and Lilly Scott should keep doing their thing. By Gil Kaufman Crystal Bowersox on “American Idol” last week Photo: Frank Micelotta/ Getty Images This is the week we’ve all been waiting for. Following Tuesday and Wednesday night’s performances, we will be down to season nine’s top 12, and the competition on “American Idol” will start to get serious. After last week’s surprise switcheroo due to Crystal Bowersox’s illness , the remaining 12 ladies served up a mixed bag of good, bad and eh on Wednesday night. Lilly Scott and Siobhan Magnus proved to be suddenly strong competition for Bowersox, who stormed back from her undisclosed ailment to regain her spot as the woman to beat this year. So what do the rest of the ladies need to do to win the hearts — and ears — of the nation? How can they get enough votes to avoid landing in the bottom two? Here’s what we do (and don’t) want to see from these “Idol” hopefuls, starting with those who need the most work. Didi Benami It feels like this once-promising singer has seriously lost her way. After ditching the thing that got her to the big show (i.e., sensitive singer/songwriter material with a jazzy twist), Benami was undone by a hard-to-watch warble through the Bill Withers soul classic “Lean on Me.” Didi would be wise to dig into the Lily Allen or Corinne Bailey Rae songbook to get back into the game. Paige Miles The judges have told Miles she has the strongest voice in the competition this year, but so far, she’s failed to make much of an impression personality-wise. Last week, Kara DioGuardi faulted her for smiling through a cover of Kelly Clarkson’s “Walk Away,” dissing Miles for not getting the angry mood of the song right. And she should know — she co-wrote it! She needs to put the coloring books away and bite off a meaty Alicia Keys song that will allow her to open up and show some serious emotion. Katie Stevens This teenager needs to find her inner child. After weeks of going too old, Stevens is in danger of losing her spot if she doesn’t show the panel that she could be a youthful, contemporary artist. She tried to display her younger side by singing Bailey Rae’s signature “Put Your Records On,” but even that didn’t work because the judges said it felt too unfocused and bland, with Simon Cowell suggesting she needed a bit more time to figure out what kind of artist she wants to be. Unless Stevens can smash it with a convincing tumble through a Katy Perry or Rihanna song, she might be back in her old classroom next week. Lacey Brown Proving you’re damned if you do and damned if you don’t, Brown followed the judges’ advice and performed Sixpence None the Richer’s “Kiss Me” — and they didn’t like it. In order to stick around, she needs the kind of signature moment Magnus provided with her Aretha Franklin power note, so this week’s selection should focus on displaying her range and originality. Siobhan Magnus Has one note ever meant so much? Magnus, this year’s token quirky girl, could very well have stamped her ticket to the top 12 last week thanks to that massive wail at the end of her version of Franklin’s “Think.” Now, Magnus just has to keep surprising the judges and audience to stay in the running. Luckily, she hasn’t painted herself into a genre corner so far and has displayed an indie-leaning sensibility , so she’s free to try out anything on the charts, from Lady Gaga to Owl City. Katelyn Epperly The judges weren’t crazy about Epperly’s slow take on Coldplay’s “The Scientist,” but America gave it a thumbs-up and she made it to sing another day. She should strap the guitar back on this week and give us a new twist on a contemporary singer/songwriter, perhaps even putting some jazz into a Taylor Swift tune. Lilly Scott Scott is on a roll. She nailed her Beatles cover two weeks ago, gave another solid performance with Sam Cooke’s “A Change Is Gonna Come” last week, again proving that while she may not have the best voice, she’s got a unique stage presence and memorable delivery. It would be great to see her sit at a piano this week and rework a contemporary ballad, say something from Muse or Carrie Underwood. Crystal Bowersox At this point, it’s Crystal’s game to lose. She’s proven she can kill it with classic-rock tunes, thanks to a very strong gospel-tinged rendition of Creedence Clearwater Revival’s “Long as I Can See the Light,” but this week might be her chance to tackle a newer artist and prove that she can be relevant now. A Jack Johnson song might do the trick. What do you want to see from the girls on Tuesday night? Who do you hope steps up their game this week? Let us know below! Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Videos ‘American Idol’ In 60 Seconds Related Photos ‘American Idol’ Season Nine Performances

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‘American Idol’ Top Eight Women: What They Need To Do

Simon Cowell Endorses Crystal Bowersox On ‘Leno’

‘American Idol’ judge brings his fianc

Say Anything In 2010

In your iPods, the light, the heat. The Best Links: Via 9Gag View

‘American Idol’ Loses Haeley Vaughn, Jermaine Sellers, John Park, Michelle Delamor

Danny Gokey performs his debut country single during results show. By Gil Kaufman Haeley Vaughn on “American Idol” on Thursday Photo: Fox In some ways, the first two weeks of this year’s “American Idol” semifinals have felt a lot like an extension of the brutal Hollywood Week: a painful but necessary mass culling of the herd in order to get to the good stuff. Four more singers went down Thursday night (March 4), including Michelle Delamor, Jermaine Sellers, Haeley Vaughn and John Park. Inexplicably, Tim Urban, the cute boy who has proven two weeks running that he is the luckiest guy on the stage, was given a pass, which allowed him to bust out his “what? me?” face yet again along with Todrick Hall, whose Tina Turner cover drew serious fire but also enough votes to keep him in the running. Pumped-up Michael Lynch did it again with a solid James Brown cover, and Casey James was waved through despite a split decision from the panel on his cover of the oft-sung “I Don’t Want To Be.” That left Purple Haze singer Park standing after another messy week courtesy of John Mayer’s “Gravity,” which, in typical “Idol” fashion, Park sang way better on his way out after being eliminated, almost hitting half the notes and showing more personality and verve than he had in weeks. The second man to go was testy soul man Jermaine Sellers, who got the dreaded “cabaret” putdown from Simon for his smooth-jazz version of Marvin Gaye’s “What’s Going On.” He was paired center stage with onetime front-runner Andrew Garcia, who kept on chugging despite a just so-so reception for his version of James Morrison’s “You Give Me Something,” which the panel felt lacked pizzazz. That left suddenly surging rocker Lee Dewyze in the running after his solid take on Hinder’s “Lips of an Angel.” Nervous teen Aaron Kelly and equally nervous Alex Lambert, who is starting to come around thanks to a nuanced cover of John Legend’s “Everybody Knows,” also survived. Sellers said it wasn’t his unpredictable personality that did him in. “Where I sing from, you can’t be taught how to riff and run and sing high notes,” he said. “I’m a church singer. That’s where my heart is.” He tried to take it to church one more time as he gently sang his way off with the Gaye classic, hitting all the same nutty, seesaw notes that did him in to begin with. For the ladies, the first casualty was Michelle Delamor, the somewhat bland R&B singer who took a chance that didn’t pan out with Creed’s power ballad “With Arms Wide Open.” “I think I was so wrapped up in trying to do everything right while being judged that I kind of lost sight of just performing,” she said dejectedly, promising to keep on keepin’ on. The second run through “Arms” was no better and maybe a bit sharper, so America appeared to have gotten it right. Didi Benami dodged a bullet, even after Simon compared her to a screeching cat thanks to her bomb-tastic cover of Bill Withers’ “Lean on Me.” Also making the grade were quirky jazz bird Lilly Scott, soul belter and possible new front-runner Paige Miles and high-schooler Katie Stevens, who still hasn’t found her groove but did just enough with “Put Your Records On” to stick around again. The second ax then fell on Haeley Vaughn, the teenage cow-pop wannabe who fell down hard with her attempt at Miley Cyrus’ “The Climb” and appeared to sense she was not going to stick around. Standing next to her was Lacey Brown, who did what the judges suggested and sang Sixpence None the Richer’s “Kiss Me,” even if they didn’t like the results, and made it through anyway. “I think I could definitely use some more experience,” Vaughn said, lamenting that she’s going to have to return to high school next week before making the rocky climb one more time. Even with mixed results from the judges for her gutsy but very slow solo piano ramble through Coldplay’s “The Scientist,” Katelyn Epperly lived another day; resurgent leader Crystal Bowersox bounced back from possible elimination after her hospitalization Tuesday thanks to a winning version of Creedence Clearwater Revival’s “Long as I Can See the Light”; and resident oddball Siobhan Magnus blew the room away with her note-heard-’round-the-world throwdown on Aretha Franklin’s “Think.” Returning to the stage was last year’s #3 finisher, Danny Gokey, who performed “My Best Days Are Ahead of Me,” the debut single from his upcoming album. Rocking a leather jacket, jeans, a burgundy shirt and his signature specs, Gokey’s gravelly soul voice was warmly received as he sang the peppy country/pop tune about the power of positive thinking. “I can be whatever I want to be/ My best days are ahead of me,” he crooned over a twanging pedal-steel riff. “I’ve got sunsets to witness, dreams to dance with/ And beaches to walk on and lovers to kiss.” After spending most of his “Idol” run being tagged as “the guy with the tragedy” — a reference to the death of his young wife Sophia four weeks before his audition — Gokey said he wanted to come out with a first single that showed how much hope “Idol” gave him. “I just found out the writer of the song lost his wife too, and he wrote this song a few months after she passed away. And without me knowing it, I picked it up, I recorded it and put it on radio. … It’s an anthem for me. I’m excited about life again.” The group sing-along was to the Black Eyed Peas’ “I Gotta Feeling,” with the girls doing a much better job of selling he corny lip-synch than the boys, who seemed like they were extras on a “Sesame Street” skit about positive hip-hop. The painfully cheesy segment did give us a glimpse of mullet man Lambert fake-shouting the lyric “Mazel Tov!” and Urban throwing up some painfully suburban rapper hands, as well as the quirky Magnus just saying no to tight skirts and leggings and going with ripped jean shorts over tights. The girls will be back performing Tuesday, followed by the guys on Wednesday. What did you think about the eliminations? Did America get it right? Who do you think should have gone home? Let us know below. Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Photos ‘American Idol’ Season Nine Performances The ‘American Idol’ Season 9 Top 24

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‘American Idol’ Loses Haeley Vaughn, Jermaine Sellers, John Park, Michelle Delamor

B.o.B Talks New Single ‘Nothin’ On You,’ New Mixtape, New Album

‘The biggest lesson I learned is patience,’ Atlanta MC says. By Jayson Rodriguez B.o.B. Photo: MTV News Upstart Atlanta MC B.o.B aka Bobby Ray isn’t your average rapper by any means. First of all, he plays the guitar — and while Kanye West, Drake and Lil Wayne have tried their hands at shredding, none of them can spin a wayward, folksy tune like he can. Combine that with co-signs from Eminem and T.I., who signed the Mixtape Daily Firestarter alum to his Grand Hustle roster , and you have the makings of a breakout star. So how, exactly, does Bobby Ray plan on introducing his soulful Southern lyricism? With his new single, “Nothin’ On You,” a sprightly, musical number from his forthcoming debut, B.o.B. Presents: The Adventures of Bobby Ray . “Introducing B.o.B or Bobby Ray — it takes more than one song to do it,” the rapper told MTV News from red carpet of BET’s “Rip the Runway.” “But I feel like this song is really genuine and really sincere, so I feel good about people finding out about me through ‘Nothin’ On You’.” The song, featuring Bruno Mars, currently rests at number 37 on the Billboard Hip-Hop/R&B chart. Although “Nothin’ On You” is still picking up steam, it’s already received praise — the program director at Los Angeles’ KIIS FM told Entertainment Weekly that B.o.B would be the next big thing on radio. Bruno who, along with Phillip Lawrence from production team the Smeezingtons, helmed the track, gushed over Bobby Ray’s talent. “It’s great — he’s an incredible artist,” the singer said. “We actually wrote and sung on the hook. We’d been fans of his for a minute and he came in and just murdered those verses. Hopefully the rest is gonna be history.” The rapper has been signed to Atlantic Records for some time now and graced the pages of 2009’s XXL Freshman 10 issue, with fellow rookies Kid Cudi, Asher Roth and Wale, among others. Waiting on the bench wasn’t without its challenges. At one point B.o.B threatened to pull the plug on his promising career before it even started, though he later backtracked and said the rumors were exaggerated . “It does get frustrating, trying to be as free as possible but at the same time working with people,” the rapper told MTV News last year. But with a new mixtape — the DJ Drama-hosted May 25th — in the streets and a release date on deck for his debut, April 27, Bobby Ray said he learned the value of patience. “I will tell you this about the journey as an artist to get to the point where you actually have a release date,” he offered. “The biggest lesson I learned is patience. Once you get here it’s like, OK, now you have to keep going. You never get to an end. So you have to be patient and pace yourself. Take time. It’s like building a house. You gotta take time, build a foundation, get the walls right, get the electricity right, get ther plumbing right and make sure when you turn the light on that the door don’t open up.” Related Artists B.O.B. “Bobby Ray” B.o.B.

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B.o.B Talks New Single ‘Nothin’ On You,’ New Mixtape, New Album

T-Pain Says ‘Freaknik: The Musical’ Has ‘No Boundaries’

Pain co-wrote the Adult Swim animated special, which features Snoop Dogg, Rick Ross and Cee-Lo. By Shaheem Reid T-Pain Photo: MTV News T-Pain says his next album, Revolver, will be coming out later this year, but his first major project of 2010 is a TV show. Pain is starring in and producing a one-hour animated special for Cartoon Network’s Adult Swim this weekend called “Freaknik: The Musical.” Freaknik was an annual party in Atlanta that started in the 1980s but blew up in the mid-’90s. During spring break, students from the area’s historically black colleges and the hip-hop community used to gather for a weekend of partying, a picnic and, in many cases, debauchery. The event took over the city and was protested heavily, and the final one was in 1999. “I actually never been, but I’ve seen every piece of footage that can come from the Florida side of Freaknik,” said T-Pain, who hails from Tallahassee, Florida. “It was a lot of night vision, a whole lot of night vision. Every video I’ve ever seen [from Freaknik] was in night vision. Even in the daytime, it was night vision.” Pain’s musical, which he also co-wrote, follows a group trying to make it to the event. “It’s about the trials and tribulations of a group that’s trying to get to Freaknik,” Pain explained. “Freaknik, the party ghost — which is [who I play] — is holding a battle of the trillest. It’s a rap battle. If you win the rap battle, the first prize is a lifetime supply of money, ho’s and clothes. It’s three dudes in the rap group and their weed man trying to make it to Freaknik. It’s their trials and tribulations coming from Sweet Tea, Florida, all the way to Georgia. I play the Spirit of Freaknik. Everywhere I go, it’s on and poppin’.” Pain said the story wasn’t his brainchild, but he jumped onboard when presented with the idea. “I didn’t write the whole thing,” he said. “They came to me with the premise. I started scratching stuff off and getting new stuff. You can say I wrote it, but I didn’t. It was my homeboy Carl [Jones], the same guy that does ‘The Boondocks.’ We had to get a lot of his help, direction and stuff like that. We all wrote it together. It was a good team of people that has no boundaries. We took it so far that the watered-down version is awesome.” Andy Samberg, Snoop Dogg, Cee-Lo and Rick Ross are among the stars doing voice-overs. “I didn’t want nobody to play themselves,” Pain said. “Ross is Big Uzi, one of the dudes in the group. Cee-Lo is Light Skinned, which is a white dude who is a black supremacist.” “Freaknik: The Musical” airs Sunday at 11:30 p.m. on Adult Swim. Related Videos T-Pain’s Speaks About His Upcoming ‘Freaknik: The Musical’

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T-Pain Says ‘Freaknik: The Musical’ Has ‘No Boundaries’

Crystal Bowersox, Lilly Scott Top Our ‘American Idol’ Top 10 Women’s Report Card

Katelyn Epperly also shines on Wednesday night. By Eric Ditzian Crystal Bowersox performs on “American Idol” on Wednesday Photo: Frank Micelotta/ Getty Images Just when we started to get anxious that the ninth season of “American Idol” would really turn out to be the franchise’s worst, Crystal Bowersox, Lilly Scott and Katelyn Epperly arrived on Wednesday night to rescue the show. As Bowersox overcame illness , Scott embraced her soul side and Magnus unleashed the Note Heard Round The Reality Show World, “Idol” delivered its finest live show of the year. Who surprised us, who disappointed us and who’s in danger of going home? Let’s take a look at the top 10 women’s report card. (And don’t miss in the Newsroom.) Excellent Crystal Bowersox: Last week, Bowersox was accused of sounding exactly like a thousand buskers standing in a thousand subway stations. If true, that’s a commute we’d happily take twice a day, because her gospel-infused rendition of Creedence Clearwater’s “As Long As I See The Light” was as purely beautiful as anything we’ve heard in the show’s history. Earlier in the week, a hospital visit called into question whether the singer would even be able to continue in the competition. But not only will Bowersox be on the “Idol” stage to stay, she’s established herself as the season’s true front-runner. Lilly Scott: Two weeks, two strong performances. By choosing The Beatles’ “Fixing A Hole” and Sam Cooke’s “A Change is Gonna Come,” Scott proves that an “Idol” contestant doesn’t need to select a current top 40 song to prove her worth as a relevant, contemporary recording artist. What the hopefuls need to do, rather, is exactly what Scott has done: bring a current sensibility to your music — in her case, a quirky singer-songwriter vibe — and deliver ear-pleasing, toe-tapping tuneage. Katelyn Epperly: Too slow a reworking of Coldplay’s “The Scientist,” as Ellen and Randy complained? Who cares? Epperly sat down at the piano, showed off some gorgeous pipes and transported us with a lovely little lullaby of a pop song. She’s got to do some serious work on her interaction with the camera, but that will come in time. She’s gonna be a contender. Satisfactory Lacey Brown: After last week’s crash-and-burn performance of “Landside,” Brown wisely decided to give a performance that wasn’t so wearily serious. Sure, her performance of Sixpence None the Richer’s “Kiss Me” was fun, but it was fun in the way people enjoy drunken group-sings at karaoke bars. Nothing about her act communicated a take-me-seriously-as-a-recording-artist passion. Brown should be worried this week. ‘American Idol’ Season Nine Performances Katie Stevens: Like fellow contestant Aaron Kelly, Stevens suffers from a case of Benjamin Button syndrome. The two are teens who have grown old far before their time. As lovely a voice as she has, Stevens seems hamstrung by an octogenarian’s musical tastes. That she couldn’t even name a young recording artist when prompted by the judges speaks volumes. She still seems to be a fan favorite, and so she won’t be voted off just yet. But it ain’t looking good for the 17-year-old. Michelle Delamor: Bonus points for most creative song choice of the evening with Creed’s “With Arms Wide Open.” And some serious demerits for an off-kilter performance that was variously pitchy and perplexing. Following last week’s strong take on Alicia Keys’ “Fallin’, Delamor finds herself outside of the top tier of female contestants. But she’s in no danger of going home for a while. Paige Miles: She’s a cheery one, as evidenced by her performances of Free’s “All Right Now” and Kelly Clarkson’s “Walk Away.” Still, that cheeriness seems to come at the expense of a true emotional connection to the material. And admitting to the world that you enjoy coloring books doesn’t exactly scream, “Take me seriously, y’all!” Miles is still on the judges’ good side, which is a good place to be, and she’ll likely be around next week. Siobhan Magnus: Magnus almost made it into the Excellent category this week on the strength of that one long, high note she let loose during her take on Aretha Franklin’s “Think.” Truth is, the performance was extremely average until that climatic note. We’re digging Magnus and her anything-might-happen-when-I’m-up-stage eccentricity, but she still hasn’t made clear what kind of artist she really is. She’ll have a while to decide. She’s safe this week. Unsatisfactory Haeley Vaughn: We’re confused. We thought she wanted to be a country singer. Then last week she selected the Beatles, and this week Miley Cyrus. We’re confused, too, because she sounded like she had a gorgeous instrument in the weeks before the live broadcasts. What’s going on? The answer doesn’t matter, because Vaughn has given us two straight weeks of worst-of-the-bunch performances. After the judges’ evisceration on Wednesday night, Vaughn probably won’t be around next week to clear things up. Didi Benami: Oh, Didi! It’s not easy, week after week, to hear such brutal criticism, but her take on “Lean on Me” was painful for viewers. The 23-year-old is clearly confused and rapidly losing confidence, which explains why she ditched her jazzy-cool persona and went with what she hoped would be a crowd-pleaser. It was the very definition of playing it safe, rather than playing to win, and it’s likely going to result in a plane ticket back home. Get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Photos ‘American Idol’ Season Nine Performances The ‘American Idol’ Season 9 Top 24

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Crystal Bowersox, Lilly Scott Top Our ‘American Idol’ Top 10 Women’s Report Card

Harvey Weinstein Can’t Bully His Critics Into Submission Anymore [Decline]

If you’re wondering just how far the nearly insolvent ex-mogul Harvey Weinstein has fallen, here’s a handy metric: He can’t even stop a Canadian filmmaker from making an unauthorized documentary about what a gargantuan dick he is. A Canadian ! According to the New York Times , Barry Avrich , a documentarian who last made a movie about uber-agent Lew Wasserman, has secured $1 million in funding for Unauthorized: The Harvey Weinstein Project , which promises to be a “powerful, uncensored account of a brilliant, feared, charming and yet loathsome character.” Avrich is Canadian, and the money comes from Movie Network and Movie Central, two Canadian companies. As the title suggests, Weinstein is not cooperating with the project, which is in itself a remarkable development: There was a time when Weinstein could have gotten a pesky little filmmaker like Avrich shut down in a day with either a phone call to his backers or a sweeter offer of his own. Here’s how David Carr put described Weinstein’s facility for either bullying his critics or buying them off in a 2001 New York profile : As the keeper of star-making machinery, Weinstein has re-engineered the media process so that he lives beyond its downsides. His other assets-a book-publishing company and a working knowledge of the frailties of most reporters-mean that when Weinstein acts like a numbskull at Cannes, he gets a pass. A. J. Benza, who held Weinstein harmless when he was a gossip at the Daily News, has a book on Talk-Miramax that will become a movie. Liz Smith calls him the Irving Thalberg of our age, and Weinstein reciprocates by giving her a steady taste of star quotage. Rush and Molloy can’t blurb one of his actors without mentioning how “critically acclaimed” his last project was. “He owns you guys, all of you,” bitches one West Coast film executive. “All media is controlled out of New York, and he is the king. He has the kind of Teflon none of us can understand.” His shadow was so long a decade ago that even actual photographs of Weinstein assaulting then- New York Observer Andrew Goldman never saw the light of day: “You know what? It’s good that I’m the fucking sheriff of this fucking lawless piece-of-shit town.” Weinstein said that to Andrew Goldman, then a reporter for the New York Observer, when he took him out of a party in a headlock last November after there was a tussle for Goldman’s tape recorder and someone got knocked in the head. Weinstein deputized himself and insisted that Goldman apologize. His hubris would be hilarious if he weren’t able to back it up. Several paparazzi got pictures of the tussle, but Goldman bet me at the time that they would never see print. I mailed him his dollar a week later. No more. According to the Times , Weinstein tried some of his old tricks on Avrich, but they appear to have lacked the force that they once carried now that they’re coming from a debt-ridden and increasingly desperate producer who can barely gather together enough scratch to release his next film and can’t afford to buy back the company he named after his parents . Weinstein seems to have had some success in convincing American firms to stay away—”Over the last several months, Mr. Avrich said, he has unsuccessfully sought advance backing from American film distributors”—but his tentacles are too weak to make it across our northern border. And Weinstein’s efforts to throw Avrich off course just sound pathetic: Initially, Mr. Avrich said, Mr. Weinstein advised him not to make the movie. Later Mr. Weinstein suggested that Mr. Avrich make a film instead about Arthur Krim, the onetime head of Orion Pictures, who died in 1994. Finally Mr. Weinstein told Mr. Avrich that Quentin Tarantino was considering a competing project that would chronicle Mr. Weinstein’s professional life, which has ranged from work as a concert promoter in Buffalo, through the heyday of Miramax, which released hits like “Pulp Fiction” and “Shakespeare in Love,” and beyond. Paula Woods, a spokeswoman for Mr. Tarantino, said Mr. Tarantino had told her that he and the Weinsteins were “unofficially kicking around the idea” of a Weinstein documentary. Yes, Quentin Tarantino is going to make a documentary about Harvey Weinstein to bury Avrich’s little project. And if you keep saying mean things about him, Harvey will totally get this huge guy he knows to beat you up, so just stop, OK?

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Harvey Weinstein Can’t Bully His Critics Into Submission Anymore [Decline]